Рет қаралды 3,979
MAN IN A GOLDEN HELMET by (formerly attributed to) Rembrandt van Rijn, 1650, Oil on canvas, 67.5 cm × 50.7 cm (26.6 in × 20.0 in)
THIS PAINTING IS AVAILABLE TO PURCHASE AS A HANDMADE OIL REPRODUCTION FROM 1ST ART GALLERY: www.1st-art-gallery.com/Rembr...
ABOUT THIS PAINTING: This is a Rembrandt that never was. It’s entitled, Man In A Golden Helmet, and for centuries is was thought to be painted by the great master, and has become a favorite of art lovers everywhere.
But when the painting was restored in 1984, art experts had the chance to examine the work for authenticity. They determined the work was done, not by Rembrandt, but most likely by one of his talented students.
When determining the legitimacy of a work many things are taken into consideration. There’s provenance, that is the history of the painting; who owned it, who sold it to who, and where it traveled over course of the painting’s lifetime. Then there are the materials; the paint, stretchers, canvas-are they from the same period and region as Rembrandt?
However, it was more difficult to authenticate this painting. It was painted in the same period, in the same area, and using the similar materials, by a student who was intimately familiar with Rembrandt’s techniques.
When all else fails, the experts compare the styles. Trained eyes can catch nuances in brush work and phrasings specific to the artist. They compare it with other known Rembrandts, similar for style and subject, like this work, Man In Armor.
Rembrandt enjoyed putting his subjects in costume, often dressed in armor. And his rendering of metal is second to none. But his facility was always subordinate to the painting as whole.
On the other hand, this unknown painter was enamored with his own virtuosity in capturing the look and feel of this helmet, to the detriment of the larger work. Still we’re drawn to the painting.
This work shouldn’t be considered a fake, in the sense, the artist didn’t foist it onto some unsuspecting buyer as a genuine Rembrandt. It is a real work by a student and colleague of Rembrandt. And it’s still an excellent painting, to be appreciated on its own merits, no matter who painted it.
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